Maestro, You are a brilliant teacher. I’m a 71 year old semi-retired keyboard player. The need for understanding the Neapolitan chord was never crucial for a blue collar musician like me. So out of curiosity I thought I would research it. I went to different UA-cam videos explaining the Neapolitan chord and came away feeling more stupid at the end of the videos. But your video, good Sir, explained so concisely and in terms understandable to a mere mortal like myself. Bravissimo, Maestro. Your channel is wonderful.
The best part of your videos is that not only you explain how stuff works, but also explains the reason for it to work the way it does, just like in books, but you do it in a much easier way to understand
Just noticed there's a chromatic rise (I don't know how it's called in english... "chromatic ascension"? anyway...) going from A to C in the Am progression. There's A, Bb, B and C. It's pretty cool.
@@MusicTheoryForGuitar I actually though you were about to talk about that while commenting the progression... Then it was about the A, Bb, G#, A. ^^ But yeah, definitely a great tension trick.
Both things are going on at the same time in the progression. The best progressions always have on or more lines (diatonic or chromatic) moving 'through' the chords.
This is quite simply the best and most easily understood bit of music theory I have ever been shown. Normally I struggle to follow music theory, but this poured into my brain like a cool beer. Most grateful, I am off right now to experiment with the accordo Napolitano :)
Doing this is Am sounds very much like the Hans Zimmer score from the "Dark Phoenix" movie. I mistook it as being written in A Phrygian Dominant, but now I realize that it's just in A minor using an N6 chord. Highly recommend you listen to the score, specifically the piece called "Gap" within the score. Thanks for a fantastic video and content. Love this channel
I believe emphasize the " starting " of a mode , is to acclimate you ears to the color of the mode , a reference point like you were doing with the short chord melody in 'a ' minor
I love how your explanations are simple and they make sense. Most music theory teachers/ytbers don't go into the detail you go or just handwave it. Or when they do try to go into detail they just go off on crazy tangents. Auguri!
That double chromatic thing, with notes both a half note sharp and a half note flat of the tonic, it gives a very strong pull towards the root. Another interesting thing with the progression is that it also has a half note "climb"; A, Bb, B, C. So the resolution is very strong, both because of the pull toward the root and the climb toward the third. I'm writing this not to mansplain it to the teacher but because this is the first video that gave me this Eureka-feeling where things just came together in my head, and I want to say thank you for this.
This Video has finally fully explained a type of progression I have used for years in various songs but still struggled t understand what I was harmonically doing with my limited theory knowledge. Thank you, I have been enlightened as to why it works.
Dig “tension profile” phrase. Its hard to talk about extended harmonic music theory without sounding like its about a new better set of harmonies. When really its just a new color to paint with in the so ic space. If thats what you want to do. Explaining it as a tension profile seems like a good way to avoid the more complicated is better snob effect. Anyways thanks for the video. I was just thinking of looking up the neopolatin chord because i couldn’t remember exactly what it was but I remembered liking its effect when i first learned about, and now I remember. Cheers.
I always describe this as a "flat five substitute" for a V7 chord, though in "1st inversion." So, instead of A-E7-A, E7 is "replaced" with Bb7 (a "b5 substitute), so A-Bb7-A. Then, when in "1st inversion," that Bb7 chord (now Bb7/D... or stripped down to Bb/D) sounds akin to a more "colorful version of a "IV" chord... providing another tasty way to set up the return of the "I" chord (whether in major OR minor). Bb/D-A or Bb/D-Am
@@MusicTheoryForGuitar Sorry, that's why I said "stripped down to a Bb/D triad" in my unedited post... and had the changes at the end, reading Bb/D. Thanks for writing back! Your channel rawks :-)
Thank you for explaining this so simply, Tommaso! I was able to use this chord in a hard rock/metal style in a song for my band and it was very effective. Hadn't heard anyone else use it in this style (at least not that I can recall), so I'm glad it worked. Thank you!
Dude i really love the Chord videos man, you could even make a series out of it. I love Chords and love discovering new, your videos is perfect so is your channel. Stay safe.
this was good it reminds me of the age old trick of 'when in doubt lead it out' where you 'fix' the chord progression by always maintaining a semi tone lead in for the next chord..this is best when it's part of the melody as well like a 'pick up note'...play with the lead note being ascending or descending...you can 'fix' otherwise awkward sounding progressions by a strategic sharp and flat here and there, using this way of thinking brings light to why there are many sharps and flats in many classical music melody lines.. ;)
Great video, as always! The fact that you tackle the “weak” notes is a very eye opening concept, at least for me. It explains why some chord movements feel bland and not very interesting!
I just discovered your channel and I must say that is truly amazing, your explanations are so clear and your examples are great, keep going like that man, you're awesome
Thank you very much! Very clear explanation. I am not a guitarist. I play the keyboard. I am now convinced of the efficiency of the Neapolitan chord in a minor key (sounds chromatic, fluent and logical) but I m not convinced of its efficiency in a major key. (What I sometimes do in a major key is to raise the dominant chord by a semitone. It sounds over the top, I know, but sometimes I can t help it!!! 😉). I ll have to try the Neapolitan chord in major more often.... Many many thanks!
Thanks, just watched two of your videos, which were both great! Such and interesting and unique ay of teaching. And I love your accent! Plus it looks like you're writing with your finger, which is magic. :) Ciao!
I've always loved playing Major7 and b2 around the root in melody lines or solos, or even rhythm type riffs, especially mixing them with harmonies in thirds with or without an occasional 7, et cetera, using the double harmonic minor scale. Now I know how to use it in a great sounding chord progression too. Thanks for that. Until next time, enjoy your days too. ^-^
7:18 it's important to notice that the chord progression has the following progressions built in: E-F-G#-A A-Bb-B-C C-D-E-E The first is harmonic minor 5-b6-7-8(1), the second is chromatic line from 1 to b3, and the last and the least is b3 to 5. The first one is what you hear mainly. The last line could be made more "interesting" by substituting E with Emaj7 but loses some of the resolution actually.
I learned this when I didn't fully grasp it, forgot about it, and now find I've used this before. Really love the sound of sharp 5 on minor in general, especially when you double down on it with minor extensions instead of being somewhat ambiguously major/minor, it's sound reminds me a bit of a sus 4 major chord, you basically just put a minor interval below one anyway, which is like an inversion of the 6 you hear on those really airy sus chords.
M sus4 major? Do you mean a major 11th? Because if you don’t sub the 3rd for the 4th then it’s not a suspended chord. And if you do sub it it’s not truly major.
@@reececaldwell722 I mean a major chord with it's third suspended to the 4, using further extensions or just the context of the progression/melody to establish it as related to major.
thanks for the video, very informative as always! Also, placing the chord before the 5th creates a tritone with the 5th. It's an easy way to memorize how this works.
Your exposés are always top notch: incredible depth of content coupled with very practical simplicity, together they make for instant applicability! Thanks again!
It works well for me to think of chords in their major key context. Thus rather than thinking A minor (am) I think of C and the am chord becomes the vi. So your progression of am - Bb - E - am, I see as vi - IV of IV - V of vi - vi. And it all makes sense -- stays close in the Circle of Fifths. I like your presentation -- the speedwriting over the narration works well.
This is a very well explained lesson on the Neapolitan chord! It always seemed so confusing and mysterious in my undergrad music theory classes. Thanks!
Great stuff. That Neapolitan chord can also be a major 7th. You inspired me to swap out a chord. I'm in Em on guitar, so it would be: Em Fmaj7/A. B7 Em. Putting the 3rd in the bass and adding the maj7, sweet!
Really nice lesson. Thank you! I love your explanation of the "weak" notes. It makes sense. I haven't been able to use the IV chord as much as I would like, but I didn't understand why until now. So I hope I can start sounding better with the Neapolitan chord.
I only took two semesters of music theory in college, and the concept of the Neapolitan 6th cadences really confused me and I could not figure out how it works, you finally explained it in a way that makes sense to me. You are a good teacher Tommaso!!!
I just about followed this bit of theory in real time. Stopped a couple of times to absorb a few things. Of course don’t ask me anything now that I finished watching it. I’m gonna have to watch it a few times. But fantastic video, great lesson thank you!
@@MusicTheoryForGuitar LOL! I've been watching some documentaries and Epic History TV youtube channel (highly recommend) on Napoleon Bonaparte. I came here and saw how similar Neapolitan spelling is to Napoleon and that's all I could think of. Napoleon was an absolute genius on the battlefield and to think his downfall was his own doing not that other European nation got smarter and defeated him. Other than that, great content on your channel. I'm learning alot.
one of the most beautiful examples is bwv 582 the Fugato finale, in which Bach reaches the height of tension with a Neapolitan chord followed by a sudden pause
Wonderful explanation! You might include the conversation for pianist to but whatever it’s also just great as it is thank you. Sincerely, Michael Hinton
Here is something I think needs to be explained .What is the definition and the use of the numbers you are putting on the staff? Could you define the purpose of it at 8:50
I have been experimenting with this Idea without knowing what it was. I now have rules for its use. I also have (from the comments of others respect for its use, or overuse!) Thanks
Great videos! Clear and well-paced. Thank you! At around 7:30, when you were pointing out the chromaticity of the notes, I thought you would have emphasised the B note in the E7, and not the G sharp (i.e. the A to B flat to B chromatic element). Do you think that sequence plays a role? I just tried the sequence playing the 'normal' E minor and it seems to work, but not quite as well as the E7, to my ear anyway. Thanks again!
Nice video man. It's like playing the first chord of the D dorian, which is usually played like a D major 6th but in this case it's a D minor 6th. awesome
Great. i would add that the "accordo di sesta napoletana" is built on the second (flat) degree of the neapolitan minor scale that sound like this: 1 b2 b3 4 5 b6 7 8...
This lesson is awesome. I also checked out your course but havent found how many Videos the complete course is. At 60 bucks per month I kinda wanna see where the course is going. Furthermore I understand how much time may have gone into producing it but 60 is alot of money for a 40-60 minute video. I would love to check it out but as a student I am not sure if I can afford it
![Harry Potter And The TRISTAN Chord [Music Theory]](http://i.ytimg.com/vi/0dHri-5F4pU/mqdefault.jpg)
![Harry Potter And The TRISTAN Chord [Music Theory]](/img/tr.png)
Maestro, You are a brilliant teacher. I’m a 71 year old semi-retired keyboard player. The need for understanding the Neapolitan chord was never crucial for a blue collar musician like me. So out of curiosity I thought I would research it. I went to different UA-cam videos explaining the Neapolitan chord and came away feeling more stupid at the end of the videos.
But your video, good Sir, explained so concisely and in terms understandable to a mere mortal like myself.
Bravissimo, Maestro.
Your channel is wonderful.
«If you like this video». 'If'? Are you kidding? Man, your explanations are great!
Thanks! 😃
Ya
The best part of your videos is that not only you explain how stuff works, but also explains the reason for it to work the way it does, just like in books, but you do it in a much easier way to understand
excellent tutorial. I understand it now. So many videos are over complicated this chord. this is simple. thank you.
The explanation at the end with half above and half below is great
Made me hear moonlight sonata section.
I read tons of harmony books, but you've done the easiest explanations here. Cheers!
Wow, I was playing Chopin’s Nocturne op 9 no 1 and he does this A LOT
Yes!
He invented it?
@@rebelquadronfpv1065 probably not
@@rebelquadronfpv1065 If he had, why would it be called the Neapolitan chord?
@@SpaghettiToaster It's clearly named after the ice cream
Just noticed there's a chromatic rise (I don't know how it's called in english... "chromatic ascension"? anyway...) going from A to C in the Am progression.
There's A, Bb, B and C.
It's pretty cool.
Well spotted!
@@MusicTheoryForGuitar I actually though you were about to talk about that while commenting the progression... Then it was about the A, Bb, G#, A. ^^
But yeah, definitely a great tension trick.
Both things are going on at the same time in the progression. The best progressions always have on or more lines (diatonic or chromatic) moving 'through' the chords.
@@MusicTheoryForGuitar Yep, definitely agree with that. This way you can listen to it several time and hear a different thing each time.
This is quite simply the best and most easily understood bit of music theory I have ever been shown. Normally I struggle to follow music theory, but this poured into my brain like a cool beer.
Most grateful, I am off right now to experiment with the accordo Napolitano :)
Doing this is Am sounds very much like the Hans Zimmer score from the "Dark Phoenix" movie. I mistook it as being written in A Phrygian Dominant, but now I realize that it's just in A minor using an N6 chord. Highly recommend you listen to the score, specifically the piece called "Gap" within the score. Thanks for a fantastic video and content. Love this channel
I believe emphasize the " starting " of a mode , is to acclimate you ears to the color of the mode , a reference point like you were doing with the short chord melody in 'a ' minor
Just so excellent, I've seen 3 of your videos and I'm hooked, the best online music theory teacher I've ever seen!
I love how your explanations are simple and they make sense. Most music theory teachers/ytbers don't go into the detail you go or just handwave it. Or when they do try to go into detail they just go off on crazy tangents. Auguri!
That double chromatic thing, with notes both a half note sharp and a half note flat of the tonic, it gives a very strong pull towards the root. Another interesting thing with the progression is that it also has a half note "climb"; A, Bb, B, C. So the resolution is very strong, both because of the pull toward the root and the climb toward the third.
I'm writing this not to mansplain it to the teacher but because this is the first video that gave me this Eureka-feeling where things just came together in my head, and I want to say thank you for this.
By far the best explanation of the Neapolitan chord I've ever seen. Great presentation!
This Video has finally fully explained a type of progression I have used for years in various songs but still struggled t understand what I was harmonically doing with my limited theory knowledge. Thank you, I have been enlightened as to why it works.
Best breakdown here - particularly why d stays in the bass here (first inversion)
Dig “tension profile” phrase. Its hard to talk about extended harmonic music theory without sounding like its about a new better set of harmonies. When really its just a new color to paint with in the so ic space. If thats what you want to do. Explaining it as a tension profile seems like a good way to avoid the more complicated is better snob effect. Anyways thanks for the video. I was just thinking of looking up the neopolatin chord because i couldn’t remember exactly what it was but I remembered liking its effect when i first learned about, and now I remember. Cheers.
The quality of this video is amazing. Brilliantly done!
I think it also works well because it creates a chromatic voice leading in which gives it a stronger sense of direction. Interesting video!
I always describe this as a "flat five substitute" for a V7 chord, though in "1st inversion." So, instead of A-E7-A, E7 is "replaced" with Bb7 (a "b5 substitute), so A-Bb7-A. Then, when in "1st inversion," that Bb7 chord (now Bb7/D... or stripped down to Bb/D) sounds akin to a more "colorful version of a "IV" chord... providing another tasty way to set up the return of the "I" chord (whether in major OR minor). Bb/D-A or Bb/D-Am
But the Neapolitan is not a Bb7. It's Bb triad, and it takes the MAJOR 7, not the dominant 7. So it's not a tritone sub of E7.
@@MusicTheoryForGuitar Sorry, that's why I said "stripped down to a Bb/D triad" in my unedited post... and had the changes at the end, reading Bb/D. Thanks for writing back! Your channel rawks :-)
Your channel is a invaluable music theory resource. Thanks for your hard work.
Thank you for explaining this so simply, Tommaso! I was able to use this chord in a hard rock/metal style in a song for my band and it was very effective. Hadn't heard anyone else use it in this style (at least not that I can recall), so I'm glad it worked. Thank you!
en.wikipedia.org/wiki/Neapolitan_chord#In_popular_music
@@christopherheckman7957yes, I'm familiar with these. What I hadn't seen is them used in rock/metal (though I'm sure examples exist).
Dude i really love the Chord videos man, you could even make a series out of it. I love Chords and love discovering new, your videos is perfect so is your channel. Stay safe.
this was good it reminds me of the age old trick of 'when in doubt lead it out' where you 'fix' the chord progression by always maintaining a semi tone lead in for the next chord..this is best when it's part of the melody as well like a 'pick up note'...play with the lead note being ascending or descending...you can 'fix' otherwise awkward sounding progressions by a strategic sharp and flat here and there, using this way of thinking brings light to why there are many sharps and flats in many classical music melody lines.. ;)
I'm just loving these videos, and I hope this will reach a million before the end of this year. Stuff like this should be rewarded bigtime.
Excellent explanation of the Neapolitan and its use!
Best naepolitan sixth explanation on UA-cam, a big thanks you man
You explained the way constructed Neapolitan chord so well.
Thank you
Great video, as always! The fact that you tackle the “weak” notes is a very eye opening concept, at least for me. It explains why some chord movements feel bland and not very interesting!
I just discovered your channel and I must say that is truly amazing, your explanations are so clear and your examples are great, keep going like that man, you're awesome
Thank you very much! Very clear explanation. I am not a guitarist. I play the keyboard. I am now convinced of the efficiency of the Neapolitan chord in a minor key (sounds chromatic, fluent and logical) but I m not convinced of its efficiency in a major key. (What I sometimes do in a major key is to raise the dominant chord by a semitone. It sounds over the top, I know, but sometimes I can t help it!!! 😉). I ll have to try the Neapolitan chord in major more often....
Many many thanks!
I am a piano player, you explain theory so simple ! you are a great teacher. Thank you.
this is all stuff i know and use and still i watched and enjoyed the entire presentation. you are teaching with relish! i'll be back to watch more.
This explanation is better than the one given to me by my classical harmony professor at the music academy..
Finally I do understand what the neapolita chord is ! Although I am not a guitarist !Thank you for sharing !
Love everything about this video/explanation, very clear and concise with easy to follow examples! Well done!
I don't even understand music on this level but I couldn't stop watching
I play the piano not the guitar. I found this to be a very clear explanation of the near Politan chord. Thank you.
Thanks, just watched two of your videos, which were both great! Such and interesting and unique ay of teaching. And I love your accent! Plus it looks like you're writing with your finger, which is magic. :) Ciao!
Very clear and concise explanation. I learned a lot.
I'm not a guitarist but what a fabulous, clear explanation! Thank you for making these videos!
I've always loved playing Major7 and b2 around the root in melody lines or solos, or even rhythm type riffs, especially mixing them with harmonies in thirds with or without an occasional 7, et cetera, using the double harmonic minor scale. Now I know how to use it in a great sounding chord progression too. Thanks for that. Until next time, enjoy your days too. ^-^
Aylbdr Madison I like that idea of making harmonies in 3rds using maj7b2 sounds! Gonna try it!
Fantastic explanation of the Neapolitan
7:18 it's important to notice that the chord progression has the following progressions built in:
E-F-G#-A
A-Bb-B-C
C-D-E-E
The first is harmonic minor 5-b6-7-8(1), the second is chromatic line from 1 to b3, and the last and the least is b3 to 5. The first one is what you hear mainly. The last line could be made more "interesting" by substituting E with Emaj7 but loses some of the resolution actually.
I learned this when I didn't fully grasp it, forgot about it, and now find I've used this before. Really love the sound of sharp 5 on minor in general, especially when you double down on it with minor extensions instead of being somewhat ambiguously major/minor, it's sound reminds me a bit of a sus 4 major chord, you basically just put a minor interval below one anyway, which is like an inversion of the 6 you hear on those really airy sus chords.
M sus4 major? Do you mean a major 11th? Because if you don’t sub the 3rd for the 4th then it’s not a suspended chord. And if you do sub it it’s not truly major.
@@reececaldwell722 I mean a major chord with it's third suspended to the 4, using further extensions or just the context of the progression/melody to establish it as related to major.
thanks for the video, very informative as always! Also, placing the chord before the 5th creates a tritone with the 5th. It's an easy way to memorize how this works.
Your exposés are always top notch: incredible depth of content coupled with very practical simplicity, together they make for instant applicability! Thanks again!
As well as the enclosure around A, there is the sequence A - Bb - B - C
Your videos are so helpful, educational and very entertaining. Thank you!
Well explained. Very good Teacher ❤❤🎉🎉
It works well for me to think of chords in their major key context. Thus rather than thinking A minor (am) I think of C and the am chord becomes the vi. So your progression of am - Bb - E - am, I see as vi - IV of IV - V of vi - vi. And it all makes sense -- stays close in the Circle of Fifths. I like your presentation -- the speedwriting over the narration works well.
Great.. detailed and comprehensive lesson.....Grazie Tomaso❤
This is a very well explained lesson on the Neapolitan chord! It always seemed so confusing and mysterious in my undergrad music theory classes. Thanks!
Great stuff. That Neapolitan chord can also be a major 7th. You inspired me to swap out a chord. I'm in Em on guitar, so it would be: Em Fmaj7/A. B7 Em. Putting the 3rd in the bass and adding the maj7, sweet!
Really nice lesson. Thank you! I love your explanation of the "weak" notes. It makes sense. I haven't been able to use the IV chord as much as I would like, but I didn't understand why until now. So I hope I can start sounding better with the Neapolitan chord.
Genial está explicación, un saludo desde Colombia!
I only took two semesters of music theory in college, and the concept of the Neapolitan 6th cadences really confused me and I could not figure out how it works, you finally explained it in a way that makes sense to me. You are a good teacher Tommaso!!!
nice to see you in action keep safe during these difficult and dangerous times
Totally forgot about the Neopolitan voicing. Great video, thanks!
This makes me want to buy your chord book. So many ways to rework chords and make more it interesting.
I play piano and I really find your lessons valuable.
I just about followed this bit of theory in real time. Stopped a couple of times to absorb a few things. Of course don’t ask me anything now that I finished watching it. I’m gonna have to watch it a few times. But fantastic video, great lesson thank you!
very very nice. Clear presentation. Very generous thank you so much!
I'm getting out the guitar right now...thank you 🎸👍
this videos help me a lot with the theory from my music course, thank you!
I tried the Napoleon chord, ended up nearly conquering all of Europe.
I think I did this wrong.
I should have titled the channel "military strategy for guitar"...
@@MusicTheoryForGuitar LOL! I've been watching some documentaries and Epic History TV youtube channel (highly recommend) on Napoleon Bonaparte. I came here and saw how similar Neapolitan spelling is to Napoleon and that's all I could think of.
Napoleon was an absolute genius on the battlefield and to think his downfall was his own doing not that other European nation got smarter and defeated him.
Other than that, great content on your channel. I'm learning alot.
History, music theory and dad joke - this comment has it all. Well done sir.
Dude, wait until you discover the Hitler chord... :-)
Have you tried playing the chord at Trafalgar square ?
Keep it up sir. I am learning a lot. Such a fun way to learn.
one of the most beautiful examples is bwv 582 the Fugato finale, in which Bach reaches the height of tension with a Neapolitan chord followed by a sudden pause
BEAUTIFULLY EXPLAINED THANK YOU SO MUCH
Sir you are amazing! Thank you so much!
Muchas gracias, muy buena explicación, voy a usar este acorde y su progresión. Muchas gracias
Wonderful explanation! You might include the conversation for pianist to but whatever it’s also just great as it is thank you. Sincerely, Michael Hinton
Here is something I think needs to be explained .What is the definition and the use of the numbers you are putting on the staff? Could you define the purpose of it at 8:50
That's not a staff, that's tablature. The lines are strings on the gutiar, and the numbers are the fret where you find the notes.
Thanks again for your educational videos!
I have been experimenting with this Idea without knowing what it was. I now have rules for its use. I also have (from the comments of others respect for its use, or overuse!) Thanks
Great explanation. I'm learning tons from your videos!
great video. im so grateful that i found this. thanks!
Good way to teach! As a numb, I would like to hear the chords more often.
Great videos! Clear and well-paced. Thank you!
At around 7:30, when you were pointing out the chromaticity of the notes, I thought you would have emphasised the B note in the E7, and not the G sharp (i.e. the A to B flat to B chromatic element). Do you think that sequence plays a role? I just tried the sequence playing the 'normal' E minor and it seems to work, but not quite as well as the E7, to my ear anyway.
Thanks again!
I just wrote a chord progression and was confused what scale it was in, thx this helped a lot!
brilliant explanation, great video!
That's great. Thank you so much for the lesson!
You explain this for knuckle-head guitar-players so well...
"How do you get a guitar-player to shut up?"
"Put some sheet music in front of him."
You must be so smart
@@MusicTheoryForGuitar Thank-you but too much proof to the contrary...
how do you make him leave? write notes on it ... ha!
Best video ever for this simple to understand. I wish I had a teacher like you on my phone I could call in theory emergencies 😂
Superb info. Thanks a lot. Thanks once again.
Wow. Wanna try this one.
On 8:50 that Bb chord really pushes this progression to feel more like it should resolve to Dm or D, so A doesn't feel like tonic, at least to me
Excellent explanation thank you much!
Great explanation! It's been awhile since I've seen someone talk about the Neapolitan chord. Subscribed!
It's also very used in Tango !
The Neopolitan chord is just a first inversion bII chord. Very easy to remember. 😃
explanation is clear and well done. thank you so much.
Very useful website. Thanks a lot. Thanks once again.
I'm a keyboard player but big ups , ur explanations are great
I appreciate that!
Nice video man. It's like playing the first chord of the D dorian, which is usually played like a D major 6th but in this case it's a D minor 6th. awesome
Great. i would add that the "accordo di sesta napoletana" is built on the second (flat) degree of the neapolitan minor scale that sound like this: 1 b2 b3 4 5 b6 7 8...
More options!!! Thanks!
Dmb6, D Napoli 6th, D minor flat 6th, Dm+5, Bb/d
Thank you soooo much...I think I can get a lot of mileage out of noodling with dim-chords to fill out (make more interesting) my approach to guitar.
This lesson is awesome. I also checked out your course but havent found how many Videos the complete course is. At 60 bucks per month I kinda wanna see where the course is going. Furthermore I understand how much time may have gone into producing it but 60 is alot of money for a 40-60 minute video. I would love to check it out but as a student I am not sure if I can afford it